DOCSLIB.ORG

ABRSM Introduction Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ABRSM Introduction Booklet Visual identity technical guidelinesMotivating Version 02 1 April 2009 musical achievement Welcome to ABRSM ABRSM Visual Identity Technical Guidelines Issue 1 April 2009 ABRSM is the leading authority on musical assessment. By delivering our exams rigorously and consistently we set the worldwide gold standard, with over 600,000 people, in over 90 countries, choosing to Contents take them every year. As part of our commitment to excellence in music education, we provide a rich resource 2 Welcome to ABRSM of materials, from albums of repertoire for the earliest stages of learning to scholarly 4 Exams & assessments editions of the great composers. Our online presence includes SoundJunction, our 16 Publications award-winning site for music learners. 18 Professional development We know that good teachers endeavour to enhance their professional skills. We 19 Further information support their continuing professional development through our innovative courses and online learning resources. To build on our 120 years inspiring generations of musicians, we provide charitable donations, scholarships and sponsorships, as well as acting as an advocate for music education. We do all we can to give music a voice in public life because we believe it has the power to change people’s lives. Welcome to ABRSM This booklet aims to give you an overview of all our activities. You can explore in more Music is at the heart of our work. We are here to support detail at www.abrsm.org. and encourage music learning throughout the world so that everyone can share in its power. ABRSM has the authority of four We motivate musical achievement through our authoritative of the UK’s leading conservatoires: assessment of students, the professional development of their n Royal Academy of Music, London teachers, and a wide range of published resources. We also n Royal College of Music, London actively support music education through funding and advocacy. n Royal Northern College of Music, Manchester n Royal Scottish Academy of Music & Drama, Glasgow 2 3 Exams and assessments n Prep Test n Grades 1–8 n Diplomas n Music Medals Beginners and upwards We want to bring the power of music to all age groups and every level of ability. n Performance Assessment Many students will start with the Prep Test and then work through all the grades n Ensembles from 1 to 8, but we do not impose a set pattern. A student may begin with the grade that best suits their ability – and it does not matter if a grade is ‘missed out’. For people to get the richest experience from performing music, we believe that a thorough knowledge and understanding of the elements of music is essential. So, before moving on to a practical exam at Grade 6, 7 or 8, a student must first pass Grade 5 (or above) in Theory of Music, Practical Musicianship or a solo Jazz subject. These have in common a level of musical understanding which acts as a solid Since 1889, we have provided music teachers and their students foundation for further development as a musician. with exams and assessments that nurture and evaluate an individual’s performance and progress. As the world’s largest and leading specialist in music assessment, our consistent and Certificates and mark forms rigorous approach carries recognised international authority. All successful exam candidates receive a certificate to mark their achievement. Practical graded exam candidates also receive a mark form, Motivation and encouragement written by the examiner during the We have designed our exams and assessments to motivate students of all levels exam. Theory candidates receive a and ages, giving them a series of realistic goals and tangible rewards for their form listing the marks awarded to achievements. each question. Exam syllabuses are not intended to provide a complete curriculum. Students are We provide the mark form to give encouraged to play and experience as much music as possible, embracing a wide teachers, candidates and parents a range of genres. clear, consistent and fair indication of the strengths and weaknesses in each part of the exam. 4 5 Our exams and assessments Let’s take a closer look at the exams and assessments we offer. Prep Test Grades 1–8: Instrumental and singing exams The Prep Test is designed for students who have been learning an instrument for about Practical syllabuses are available in over 35 subjects, from Piano to Percussion, and six to nine months. Working towards this early goal encourages the development of good from Harpsichord to Horn. There is a separate Jazz syllabus for Flute, Clarinet, Sax, technique and sound musicianship. It is also an ideal introduction to the experience of Trumpet, Trombone, Piano and Ensembles. taking an exam. Pieces for each syllabus have been carefully selected to provide maximum choice whilst We have developed the Prep Test to be as relaxed and enjoyable as possible. No marks covering the key skills necessary at a particular level. Our aim is to inspire teachers and are awarded and there is no pass or fail. At the end of the assessment every candidate is students by giving them the widest possible variety of repertoire. rewarded with a certificate which includes positive and helpful comments from the examiner. Practical exams have four sections, giving candidates the opportunity to demonstrate their skills through prepared work and musicianship tests: n Set pieces/songs Grades 1–8 Each of the eight graded exams represents n Scales and arpeggios/ a logical step in the musical development broken chords, or, for singers, of a student. an unaccompanied folk song Graded exams are available for: n Sight-reading or quick study n Aural tests n Piano, Jazz Piano* n Horn n Harpsichord n Trumpet, n Organ Jazz Trumpet* n Cornet, Jazz Cornet* n Violin n Flugelhorn, Jazz Flugelhorn* Grades 1–8: Theory of Music and n Viola Practical Musicianship exams n E Horn n Cello We aim to encourage an education n Trombone, n Double Bass in music that is as broad as possible, Jazz Trombone* n Guitar covering both the theoretical and n Bass Trombone n Harp the practical. We provide a Theory of n Baritone Music syllabus, examined through n Euphonium n Recorder written exams, and a Practical n Tuba n Flute, Jazz Flute* Musicianship syllabus that uses n Oboe practical methods to assess musical n Percussion n Clarinet, understanding. Jazz Clarinet* In a Practical Musicianship exam n Bassoon n Singing candidates demonstrate their n Saxophone, understanding of melody, harmony, Jazz Sax* n Theory of Music rhythm and form by responding to n Practical questions about music and by singing Musicianship or playing an instrument of their choice in a series of tests. * Not available in all countries: check the Examination Information & Regulations booklet for availablity 6 7 Diplomas Music Medals ABRSM diplomas provide an authoritative Music Medals are our assessments and teaching resources, devised to introduce assessment framework for a wide range essential musical skills and encourage playing together. of musicians. Progressively structured across five levels, Music Medals provide goals and celebrate There are three subjects for diplomas: achievement. Copper and Bronze are for beginners, whilst Silver, Gold and Platinum reward further musical progress. n Music Performance Fully supported by award winning publications, Music Medals are flexible and inclusive, n Music Direction providing a suggested teaching format and resources. Assessments take place in n Instrumental/Vocal Teaching normal lesson time and each Music Medal covers three activities: playing together, playing solo and musicianship skills. Performances are video recorded, marked by the and each subject has three levels of award: teacher and moderated by ABRSM. Successful candidates are awarded a certificate, n Diploma of The Associated Board of the and, of course, a Music Medal. Find out more at www.abrsm.org/musicmedals. Royal Schools of Music (DipABRSM) Music Medals assessments are available in the UK, and the ensemble publications n Licentiate of the Royal Schools of Music are available worldwide. (LRSM) n Fellowship of the Royal Schools of Music (FRSM) The diplomas are designed to encourage a diversity of approaches to performing, directing and teaching music and to stimulate achievement through acquiring skills, knowledge and understanding. These highly respected and letter-bearing qualifications provide valuable opportunities for professional musicians (and those aspiring to be so) to gain recognition for their abilities and achievements. 8 9 Performance Assessment For many adults who return to playing or singing after a long break, who begin to learn a new instrument from scratch, or for musicians with specific needs, an exam is not always the most appropriate kind of assessment. The Performance Assessment is an alternative that provides a valuable performing experience. Participants can play their own choice of repertoire and come away with a written report containing constructive comments and advice from a member of our examining panel. Ensembles We offer syllabuses for a wide range of ensembles from duos and trios to jazz ensembles and choirs. 10 11 Entering for exams: Entering for exams: UK and Ireland All other countries Practical exams Dates of exams vary from country Online services: There are three exam periods per year, to country. In most cases your local Malaysia and Singapore in the spring, summer and autumn. ABRSM Representative will be able Our online exam services to provide information about entry offer teachers in Malaysia and Theory exams procedures, dates and fees. Leaflets Singapore direct access to all their There are three exam days per year, in detailing this information are also exam entry details at any time. the spring, summer and autumn. published for each country. They are Each teacher’s online account available from your Representative or provides a hub of essential and from our office in London.
Load more

Recommended publications
  • ARSM (Associate of the Royal Schools of Music)
    Qualification Specification ARSM (Associate of the Royal Schools of Music) Level 4 Diploma in Music Performance September 2020 Qualification Specification: ARSM Contents 1. Introduction 4 About ABRSM 4 About this qualification specification 5 About this qualification 5 Regulation (UK) 6 Regulation (Europe) 7 Regulation (Rest of world) 8 2. ARSM diploma 9 Syllabuses 9 Exam Regulations 9 Malpractice and maladministration 9 Entry requirements 10 Exam booking 11 Access (for candidates with specific needs) 11 Exam content 11 How the exam works 11 3. ARSM syllabus 14 Introducing the qualification 14 Exam requirements and information 14 • Subjects available 14 • Selecting repertoire 14 • Preparing for the exam 17 4. Assessment and marking 19 Assessment objectives 19 Mark allocation 19 Result categories 20 Synoptic assessment 20 Awarding 20 Marking criteria 20 5. After the exam 23 Results 23 Exam feedback 23 © 2016 by The Associated Board of the Royal Schools of Music. Updated in 2020. 6. Other assessments 24 DipABRSM, LRSM, FRSM 24 Programme form 25 Index 27 This September 2020 edition contains updated information to cover the introduction of a remotely-assessed option for taking the ARSM exam. There are no changes to the existing exam content and requirements. Throughout this document, the term ‘instrument’ is used to include ‘voice’ and ‘piece’ is used to include song. 1. Introduction About ABRSM At ABRSM we aim to support learners and teachers in every way we can. One way we do this is through the provision of high quality and respected music qualifications. These exams provide clear goals, reliable and consistent marking, and guidance for future learning.
    [Show full text]
  • A Menuhin Centenary Celebration
    PLEASE A Menuhin Centenary NOTE Celebration FEATURING The taking of photographs and the use of recording equipment of any kind during performances is strictly prohibited The Lord Menuhin Centenary Orchestra Philip Burrin - Conductor FEBRUARY Friday 19, 8:00 pm Earl Cameron Theatre, City Hall CORPORATE SPONSOR Programme Introduction and Allegro for Strings Op.47 Edward Elgar (1857 - 1934) Solo Quartet Jean Fletcher Violin 1 Suzanne Dunkerley Violin 2 Ross Cohen Viola Liz Tremblay Cello Absolute Zero Viola Quartet Sinfonia Tomaso Albinoni (1671 – 1751) “Story of Two Minstrels” Sancho Engaño (1922 – 1995) Menuetto Giacomo Puccini (1858 – 1924) Ross Cohen, Kate Eriksson, Jean Fletcher Karen Hayes, Jonathan Kightley, Kate Ross Two Elegiac Melodies Op.34 Edvard Grieg (1843 – 1907) The Wounded Heart The Last Spring St Paul’s Suite Op. 29 no.2 Gustav Holst (1874 – 1934) Jig Ostinato Intermezzo Finale (The Dargason) Solo Quartet Clare Applewhite Violin 1 Diane Wakefield Violin 2 Jonathan Kightley Viola Alison Johnstone Cello Intermission Concerto for Four Violins in B minor Op.3 No.10 Antonio Vivaldi (1678 – 1741) “L’estro armonico” Allegro Largo – Larghetto – Adagio Allegro Solo Violins Diane Wakefield Alison Black Cal Fell Sarah Bridgland Cello obbligato Alison Johnstone Concerto Grosso No. 1 Ernest Bloch (1880 – 1959) for Strings and Piano Obbligato Prelude Dirge Pastorale and Rustic Dances Fugue Piano Obbligato Andrea Hodson Yehudi Menuhin, Lord Menuhin of Stoke d’Abernon, (April 22, 1916 - March 12, 1999) One of the leading violin virtuosos of the 20th century, Menuhin grew up in San Francisco, where he studied violin from age four. He studied in Paris under the violinist and composer Georges Enesco, who deeply influenced his playing style and who remained a lifelong friend.
    [Show full text]
  • ABRSM Exam Regulations International 2020
    ABRSM Exam Regulations International 2020 Visit www.abrsm.org for online exam services and up-to-date information Contents About ABRSM and these Exam Regulations ............................................................ 4 1 Exam subjects ....................................................................................................................... 5 2 Regulated qualifications ................................................................................................... 5 3 Prerequisites ......................................................................................................................... 5 4 Introduction and overlap of syllabuses ...................................................................... 6 5 Applicant’s role and responsibilities ........................................................................... 6 6 Exam entry ............................................................................................................................. 6 7 Payment .................................................................................................................................. 7 8 Withdrawals, non-attendance and fee refunds.........................................................7 9 Access (for candidates with specific needs) .............................................................7 Entering for the exam, 7 Supporting evidence, 7 Personal data, 8 Alternative to graded exams, 8 10 Practical exam dates .........................................................................................................
    [Show full text]
  • Wells Angels G Iving Gifted Children a Chance the Angels’ Newsletter ISSUE 1 - SPRING 2019
    Wells Angels G iving gifted children a chance the angels’ newsletter ISSUE 1 - SPRING 2019 Welcome to the first Wells Cathedral Chorister Trust newsletter of 2019. Many of you will be used to hearing our wonderful choir singing in the cathedral. What you may not know is how much work and dedication goes into producing this sublime music. We hope our new termly newsletter will give you a glimpse ‘behind the scenes’ of what the choristers get up to; what they achieve in school and on the sports fields as well as training daily to sing for us. The Chorister Trust is extremely grateful to our Wells Angels. Every contribution really does make a difference, often the difference that enables some choristers Pancake Fun! Some of our choristers took a break from their lessons and duties to to take up their places in the Choir and take part in a Shrove Tuesday Pancake Race, as part of a photoshoot for local media. develop into top musicians. Thankfully, the choristers involved were all expert flippers and there wasn’t too much The first of our Wells Angels ‘open pancake to clear up from Vicars’ Close or the Cloisters! (Photo: Jason Bryant) rehearsals’, to which all of our Angels are warmly invited, took place on Saturday 16 March. These are a termly opportunity to eavesdrop on one of the choristers’ daily events and see them at work. The dates for the next two open rehearsals are shown over the page. We also have another important date for your diaries. Our choristers are performing an informal concert, to include the toe-tapping fun that is Captain Noah & His Floating Zoo in the Cathedral on Saturday 4th May at 1pm.
    [Show full text]
  • ABRSM Libretto 2009:3
    01 Lib3 Cover new text.qxd 18/8/09 15:36 Page 1 2009:3 Librettowww.abrsm.org Syllabus update New repertoire for strings and brass A fabulous journey – exploring contemporary music through Spectrum for Violin I In the studio – our first ever trumpet recordings I A different point of view – looking at your teaching from new perspectives 02-05 Lib3 Contents News.qxd 25/8/09 16:27 Page 1 6 9 Outlook usic teachers have a built-in advantage over teachers of any other subject. A single musical Mexperience has the capacity to engage a young person in music for a lifetime. How often can the same be said for a single encounter with an algebraic formula, an English essay or the second law of thermodynamics? But this extraordinary power in music brings with it corresponding challenges for the teacher. However 10 17 transcendental a musical experience, this is no substitute for a musical education. As Keith Swanwick pointed out in his keynote address at the 2009 Federation of Music Services (FMS) Conference, education is all Contents about ‘multiple encounters’. Music must be learnt as language is learnt, through sustained, progressive 3 News ABRSM developments worldwide listening, analysis and exercise. 6 Examiners now The ABRSM examiner panel under the spotlight So, while we should wholeheartedly support UK government initiatives, such as Wider Opportunities and 9 In the studio A look behind the scenes as we prepare our first Sing Up!, which ensure first access to musical experience ever recordings of the trumpet syllabus for the maximum number of young people, we should never regard these as sufficient in educational terms.
    [Show full text]
  • Reading List (PDF)
    SELECTED READING SUGGESTIONS Introduction This is a selective reading list, designed to provide helpful support to diploma candidates in their preparation and to give access to the bibliographies found in the books listed for those interested in taking their studies further. General histories of music, dictionaries, encyclopedias and biographies of composers have not been included. The list begins with general books, and is then followed by listings relating to each subject-line: Directing, Performing and Teaching. While we have distinguished between these subject-lines, many books will inevitably cover areas relevant to more than one of them. Therefore to make the most of the lists, candidates are encouraged to look beyond their specific area. For example, a flute teacher should not just look at the 'Teaching-Flute' section, but also those entitled 'General Books', 'Performing - Flute', and 'Teaching - General'. Please bear in mind that at DipABRSM level you will not be expected to be as knowledgeable or as widely-read as an LRSM or FRSM candidate. Inclusion here does not indicate that the books are currently in print but all should be available in reference libraries. We hope to keep these lists updated and should you know of a book which you think ought to be included because of its specific relevance to part of the ABRSM Diploma Syllabus, then please send full details, including ISBN number, to Dr. Nigel Scaife ([email protected]) at the Board's London office. Forename/ Surname Title Place Publisher Date ISBN Initial/Ed. GENERAL Elizabeth Andrews Healthy Practice for Musicians Rhinegold Publishing Limited 1997 0946890730 Anthony Baines Oxford Companion to Musical Instruments OUP 1992 0193113341 Ed.
    [Show full text]
  • Certificate of Music Practical Exam
    ue ABRS Patron: Royal Academy of Music Her Majesty The Queen Royal College of Music President: His Royal Highness Royal Conservatoire of Scotland The Prince of Wales Royal Northern College of Music The Associated Board of the Royal Schools of Music This is to certifi that DAFNE, COME.LLI is award,ed, the ABRSM Leuel 3 Certifi,cate in Grad,ed, Examination in Music Performance (Grad,e 8) GRADE 8 PIANO and passed with distinction in 2017 The certifi,cate hold,er has been award,ed, 32 cred,its at Leael 3 Presented for examination by MRS IRTNA ALEXANDRO\NA OWCHINNIKOVA Gorlf dyfarnu cydnabyddedig -# Becognised awarding body [4.7[^r t*À dl [C,t- Michael Elliott Chief Executive Regulation Regulated by ABRSM,4 London Wall Place, London EC2Y sAU, United Kingdom Charity registered in England & Wales Q9218» & Scotland (SC043343) Date of issue: 10101/18 Qua I if ication ref erence: 5O1/ 2163/ 7 U nit reference : K/ 602/ 19 69 3lffi! 17 /2/ lT / MILA/ EURI/ 4455341/12/ 4/ Cert No166016 i- ue ABRS M Patron: Royal Academy of Music Her Majesty The Queen Royal College of Music President: His Royal Highness Royal Conservatoire of Scotland The Prince of Wales Royal Northern College of Music The Associated Board of the Royal Schools of Music This is to certify that TOMMASO GANZINI is awarded the ABRSM Lanl I Award in Graded Examination in Musi,c Performance (Grade 1) GRADE, l PANO and, passed, with d,istinction in 2017 The certifi,cate holder has been awarded 5 credits at Lanel I Presented, for examination by MRS IRTNA ALEXANDRO\NA OWCHINNIKOVA Godl dylarnu
    [Show full text]
  • Music-Handbook.Pdf
    MUSICK’S HAND-MAID A companion for students of Music in the University of Birmingham Edited by Paul Rodmell Published by the Department of Music, College of Arts and Law, University of Birmingham This document is published for information only and does not form part of any contract; the Department of Music and the University of Birmingham reserve the right to make alterations without notice. September 2011 www.music.bham.ac.uk 1 WHAT’S NEW OR DIFFERENT IN 2011 1. Percussion Store and Equipment (1.4.10) 2. Computing Facilities and Email (1.5.3) 3. Updated information for CEMPR (1.6) 4. Security, Equipment and Health and Safety (1.9) 5. Lateness, Absence and Illness (2.1.5) 6. Submitting Work (2.1.7) 7. Extensions, deferrals and ‗fit to sit‘ (2.1.8) 8. Academic Feedback (2.1.12) 9. Student Representation (2.1.19) 10. International and Exchange Students (2.2.5) 11. Harassment and Bullying (2.2.9) 12. Data Protection and Access (2.2.10) 13. Extenuating Circumstances (3.4.6) 14. Careers Centre (4.1) 15. Plagiairism (6.1.4) 16. Guidance for Timed Essays (6.1.6) 2 CONTENTS WHAT’S NEW OR DIFFERENT IN 2011 2 AIMS AND OBJECTIVES OF THE DEPARTMENT OF MUSIC 8 SECTION 1 - THE DEPARTMENT 9 1.1 Who’s Who and What They Do 9 1.1.1 Teaching Staff 9 1.1.2 Department of Music Support and Technical Staff 10 1.1.3 Barber Music Library Staff 10 1.1.4 Student Representatives 10 1.1.5 How to get in touch 10 1.1.6 Whom should I see about ...? 11 1.1.7 Students 13 1.2 Finding your way around 13 1.2.1 Barber Institute of Fine Arts 14 1.2.2 Arts Building 14 1.2.3
    [Show full text]
  • Www .Abrsm.Org
    01 Lib2-12 Cover.qxd 8/5/12 13:39 Page 1 2012:2 www.abrsm.org LibrettoABRSM news and views Developing Jazz Techniques A four-day residential course for instrumental teachers 14–17 August 2012 The Beeches Conference Centre Bournville, Birmingham • Improve your jazz playing skills Closing date for booking: 16 July • Gain confidence in teaching jazz to your students • Add fun and variety to your lessons Developing Jazz Techniques is presented by renowned The course will cover all aspects of jazz playing and jazz educators Malcolm Edmonstone (piano) and Jeffery teaching, with a particular focus on: Wilson (clarinet and saxophone). • Rhythmic styles: swing, rock and Latin The course is aimed at teachers with some experience • Modes and scales and their use when improvising of jazz who would like to develop their playing and understanding further. • Chords and symbols and how to interpret them It offers an opportunity to work on your playing skills and • Phrasing and articulation strengthen your understanding of the background, theory • Improvisation and principles of jazz, giving you more confidence when using this idiom with your students. • Playing by ear and from notation For further course information, visit: www.abrsm.org/cpd or call us on +44 (0)20 7467 8226 03 Lib1-12 Contents.qxd 2/5/12 14:25 Page 3 8 11 Outlook s we went to print with this issue of Libretto, we welcomed Lincoln Abbotts as ABRSM’s new ATeaching and Learning Development Director. In this new role, Lincoln will be leading our ongoing work to nurture a stronger relationship with instrumental and singing teachers around the world.
    [Show full text]
  • Summer Camps, Institutes & Programs
    2021 Guide to SUMMER CAMPS, INSTITUTES & PROGRAMS November 2020 Editor’s Note 2021 Guide to Summer 2021 promises to be intense. By then, having spent well over a year in a holding pattern while waiting (hoping, praying) for COVID-19 to dissipate, artists and their audiences will be hungry for the opportunity to perform, rehearse, teach, and/or listen to live music in a SUMMER CAMPS, shared environment. Fortunately, there are many opportunities being planned, and our annual INSTITUTES & PROGRAMS guide to summer camps, institutes, and programs lists nearly 300 possibilities. Keeping in mind that we assemble the information from these organizations months in advance to help you plan your summer experience, it’s always a good idea to check their individual websites before plunking down $5000 to sing in the South of France or, at the other end of the range of choices, signing up for a tuition-free youth orchestra in Los Angeles. As ever, the options are wide and enticing. As an avid (amateur) chorister, I’ve been eyeing Berkshire Choral International, which traditionally offers several major choral works to sing during specific time periods in specific locales with different conductors: Verdi in Italy, Poulenc in France, Janáček in the Czech Republic. The options for pros and/or serious students of the artform are also plentiful. Some programs specialize in strings only (check out Your Body is Your Strad—no audition required), some in bel canto (in Florence, no less!), some in marimba (Portugal), some in all disciplines (big guns, like Tanglewood and Aspen). There’s a two-week young women’s (ages 14-19) composers’ camp in Pennsylvania, a bilingual Thanksgiving camp in Québec, and we’d be remiss if we didn’t include the Beethoven Bootcamp in Virginia.
    [Show full text]
  • Statistics in Historical Musicology
    Open Research Online The Open University’s repository of research publications and other research outputs Statistics in Historical Musicology Thesis How to cite: Gustar, Andrew James (2014). Statistics in Historical Musicology. PhD thesis The Open University. For guidance on citations see FAQs. c 2014 Andrew Gustar Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000a37b Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk STATISTICS IN HISTORICAL MUSICOLOGY by Andrew James Gustar MA (Music, Open University, 2009) MA (Mathematics, Cambridge, 1989) Submitted 2nd May 2014 for the degree of Doctor of Philosophy Faculty of Arts Open University Andrew Gustar Statistics in Historical Musicology Page 3 of 297 Abstract Statistical techniques are well established in many historical disciplines and are used extensively in music analysis, music perception, and performance studies. However, statisticians have largely ignored the many music catalogues, databases, dictionaries, encyclopedias, lists and other datasets compiled by institutions and individuals over the last few centuries. Such datasets present fascinating historical snapshots of the musical world, and statistical analysis of them can reveal much about the changing characteristics of the population of musical works and their composers, and about the datasets and their compilers. In this thesis, statistical methodologies have been applied to several case studies covering, among other things, music publishing and recording, composers’ migration patterns, nineteenth-century biographical dictionaries, and trends in key and time signatures.
    [Show full text]
  • ROYAL COLLEGE of MUSIC STRING SHOWCASE Thursday 24 June 2021, 7.30Pm | Wigmore Hall, 36 Wigmore Street, London, W1U 2BP
    ROYAL COLLEGE OF MUSIC STRING SHOWCASE Thursday 24 June 2021, 7.30pm | Wigmore Hall, 36 Wigmore Street, London, W1U 2BP Would patrons please ensure that mobile phones are switched off. Please stifle coughing as much as possible and ensure that watch alarms and any other electronic devices which may become audible are switched off. Joseph Haydn String Quartet no 59 in G minor op 74 no 3 'The Rider' 22’ (1732–1809) i Allegro ii Largo assai iii Menuetto: Allegretto – Trio iv Allegro con brio Brompton Quartet: Maja Horvat violin Esther Park violin Kinga Wojdalska viola Wallis Power cello Kaija Saariaho Sept Papillons 11’ (b 1952) Tamaki Sugimoto cello Felix Mendelssohn Octet in E flat op 20 36’ (1809–1847) i Allegro moderato ma con fuoco ii Andante iii Scherzo: Allegro leggierissimo iv Presto Haim Choi violin Coco Inman violin Line Faber violin Vera Beumer violin Connie Pharoah viola Ana Dunne-Sequi viola Shizuku Tatsuno cello Silvestrs Kalnins cello Wigmore Hall is a no-smoking venue. No recording or photographic equipment may be taken into the auditorium, nor used in any other part of the Hall without the prior written permission of the Hall Management. Wigmore Hall is equipped with a ‘Loop’ to help hearing aid users receive clear sound without background noise. Patrons can use the facility by switching their hearing aids over to ‘T’. In accordance with the requirements of City of Westminster, persons shall not be permitted to stand or sit in any of the gangways intersecting the seating, or to sit in any of the other gangways.
    [Show full text]